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Wednesday, 17 July 2013

Stop Press #2: The venue, The Green Note, made the following statement: "We at Green Note are committed to running our venue in a way consistent with our beliefs and world view. This article was recently brought to our attention, and while its accuracy has been disputed by the organisers, we at Green Note reserve the right to err on the side of caution in the name of our venue, the hard work of our staff, and our place in the community. While we had no prior knowledge of the history or politics of this band, if there is any truth to the extreme political views held by the members of Changes, these run in contrast to our beliefs and we felt unable to go ahead with this show." Risa / The Green Note, 2013-08-08Stop Press #1: The venue, The Green Note, have now pulled the concert. Keep your eyes open for any attempt by the promoters to move to a new venue. 2013-07-19nb. This article has been edited to change the incorrect attribution of a couple of quotes. This mistake has no bearing on the accuracy or argument of the post as a whole. 2013-07-23

"None of this had any real connection to integration or peace between races. Integration did not occur -- flight of the whites occurred. It was no secret that once blacks predominated in an area, the crime rate would soar and the streets would become dangerous to walk."Robert N. Taylor - Chronicles of Chaos, 2006

Booked to appear at a small venue called the Green Note in Camden, London on September 6th 2013 is a shadowy American folk duo known as Changes. Cousins Robert N. Taylor and Nicholas Tesluk started playing together in coffee houses of their native Chicago in the dusk of the 60s,in an America redolent with the bad vibes of the Manson Family's 'Acid Fascism' and as the hippy dream turned bum trip.

Taylor and Tesluk have a history of fascist involvement stretching back to the very early 60s, originating in their membership of the Chicago chapter of the Minutemen around 60-61, a vigilante militia group founded to combat what they saw as the communist threat to America. Here is Taylor in an interview with the fascist neofolk/industrial music magazine Stigmata in 2005 talking about the organisation and his significant role in it:

"Minutemen drew from the full scope of those on the right. From "Barry Goldwater" type conservatives, Objectivists and libertarians, anti-communists,constitutionalists, Christian Identity, neo-Fascists, Nazis, gun-owner advocates, etc.."

"My involvement in the Minutemen was considerable. I became a member of the newly formed organization at about 14 years old. I first was a member, then became the principle organizer and leader in the Chicago area. Then I became a member of the Executive council of ten as the director of intelligence. By the time I was 24 years old I was the editor of the organization's publication, On Target as well as the national spokesman for the group. My involvement lasted through most of the years of the organization's existence."

"What made On Target uniquely different from other anti-communist or right-wing publications was that in addition to articles and commentary on various current issues, it also contained names, addresses and phone numbers of its assumed communist and liberal enemies. Often literal dossiers on such people were featured. Combine the slogan, cross-hair masthead, and such detailed information on perceived enemies, and the potential threat was implied, without ever being actually stated."

"We have studied your Communist smirch, Mao, Che, Bhukarin. We have learned our lessons well and have added a few homegrown Yankee tricks of our own. Before you start your next smear campaign, before you murder again, before you railroad another patriot into a mental institution...better think it over. See the old man at the corner where you buy your paper? He may have a silencer equipped pistol under his coat. That extra fountain pen in the pocket of your insurance salesman that calls on you might be a cyanide-gas gun. What about your milkman? Arsenic works slow but sure. Your auto mechanic may stay up nights studying booby-traps. These patriots are not going to let you take their freedom away from them. They have learned the silent knife, the strangler's chord, the target rifle that hits sparrows at 200 yards. Only their leaders restrain them. Traitors beware! Even now the cross-hairs are on the back of your necks..."

The publicity for this upcoming tour makes reference to Italian facist philosopher Julius Evola, describing the evening as "An intimate evening of music for aristocrats of the soul" and calling the tour the 'Ride the Tiger World Tour', both taken from the title of one of Evola's books, Ride the Tiger: A Survival Manual for the Aristocrats of the Soul (published in 1961). Evola's fascism was esoteric and Brahminical, and although he had close ties with Mussolini and the Nazi Party in the 30s and 40s, he considered both to have failed the cause of fascism because they were too proletarian in ideology and structure. At the bottom of the poster is printed 'Kali Yuga' (the Age of Vice), a pointed reference to current era of the Hindu calender constantly referenced by fascists like Evola and esoteric Nazi Savitri Devi as a prophecy of the decline of world into decadence, reliance on technology, and descent into materialism and greed, as predicted in the Mahabharata Hindu scriptures written around 400 BC, and a favourite touchstone for post-Nazi fascism because of its place ancient Aryan history and its narrative of decline, a constant refrain of fascism. In the past Changes also toured under the banner 'Men Among The Ruins', the title of another of Evola's books.

The band were rediscovered by Michael Moynihan of Blood Axis notoriety in 1996, who then produced and released their next album on his Storm label alongside other far-right acts like Allerseen and David E. Williams. They quickly became revered in the scene as the progenitors of neofolk.

Austrian label HauRuck! started by comedy neofolk Stormtrooper Albin Julius rereleased Fire of Life in both LP and CD form in 2001, before releasing a new full length Changes album, Orphan In The Storm.

In 2005 they released an untitled CD with British fascist folk musician Andrew King (Sol Invictus, Brown Sierra) on the Portuguese Terra Fria label. King was recently sacked from another neofolk band Sol Invictus (a band with its own seriously fascist history) because he recorded a song by David E Williams called 'Wotan Rains On A Plutocrat's Parade', in which he amended the lyrics to make the song unambiguously racist and Nazi.

The event is obviously being promoted quietly so as to avoid the unwanted attention of anti-fascist organisations like Searchlight and Antifa. For example Michael Moynihan is referred to as "a friend" and not by name in the biography on the venue's site, presumably because of his own involvement in far-right politics. No mention of their history in the Minutemen is made , and they are presented as a straight-forward folk act. Tesluk talked about the unwanted attention of antifa protesters in the same Stigmata interview quoted above:

"As for the actual antifas congregated a block away, Douglas, of Death In June, walked over to confront them and they all faded away and acted like he was the invisible man. I passed them at least three times and they wouldn't even look in my direction. No one there was afraid of those punks."

The concert, featuring Death in June, a famous British fascist neofolk band, in Changes' hometown of Chicago, was cancelled in the end because the Jewish venue owner became aware of the bands' political affiliations.

Unlike many contemporary neofolk groups Changes seem relatively comfortable talking about their far-right politics, and specifically how with Moynihan's help they reached a young neofolk audience that includes plenty of radical traditionalists, Asatru practitioners, esoteric fascists, neo-Nazis and Third Positionists who are the natural audience for Changes' Eurocentric fascism:

"In the early to mid '70s the audiences were alright, but I doubt that most of them knew what our music was all about. The folk music scene was pervaded with leftists at that time, both as performers and as audiences. That has radically changed. It was as if Changes had to wait over thirty years to find the real audience it had been seeking all those years." Robert N. Taylor - Chronicles of Chaos, 2006

At the time of writing the tour will also include in concerts in Lithuania, Germany, Moscow and Hungary, Italy, Denmark, Austria, and Greece.

Here's a link to the Stigmata interview in whole: http://www.stigmata.name/ch2.phpOverall, it's a lot more nuanced than what this article posits. That doesn't mean that there isn't a lot questionable statements made in the interview (there are many), but there certainly are a lot more statements which are a lot more nuanced than what the article says.

Stigmata also has an interview Tesluk, though - it can be located here: http://www.stigmata.name/ch1.php, and he talks a lot more about music than his cousin. Also, he has this to say:

"I don't believe that we have had to censor ourselves at all. Our music should not really be considered offensive to any group of people. Though there was a group that did a report on racially motivated music on National Public Radio some years back and for one of the songs they played the chorus of "Twilight"! However, in order to turn our song into something cruel, they used a voice-over of another group's hate music which attacked black people to make our song sound racially biased. Unfortunately, people who had never heard our song may have thought that the flagrant addition of that other song was actually part of ours! Robert and I were upset by that propaganda campaign and still are to this day. I'm not normally a litigious person, but there was certainly material for a lawsuit toward those people if we would have had the money to cover the expenses. That is how people can twist and turn anything to suit their own means. And, believe me, no one is safe from that, no matter what kind of music they write!"

When will Mr. Dash amend the article to attribute the quotes to Robert Taylor and not to Nicholas Tesluk? This is an error, and the article itself should be corrected by its author. Corrections in the comments does not clear the air. It also puts Mr. Dash's use of other quotes/facts in question.

When Mr. Dash corrects the attribution of quotes, could he possibly tell the readers of this page why Stigmata is a "fascist" webzine? They do feature some bands which are called fascist on this website (however justified that might be ... ), but they also feature a distinctly anti fascist band like Gaë Bolg, who are very vocally against the neofolk scenes martial fascinations; or Hekate, who are left wing, if anything. So why is it a fascist webzine? Is there any substance in this, or is it just a handy little slander thrown around so Dash doesn't have to do proper research?

Yes, this should be sorted out - is Dash on holiday or something? the wemaster should kick his lazy ass if not - comments don't count - when quoted - the only thing most people bother with is the article itself - you only have to see very many comments - not so much here - as most people here seem to have more than one braincell to abuse.Tesluk, however, well - they play in the same band together - if either party violently disagrees with the others point of view or politics then the band should have ceased to exist long ago - so - although it is sloppy - very - it doesn't alter the fact that this is a right-wing outfit - all the negatives posted above still stand.

It is sloppy work....even misspelled Nicholas as Nikolas as part of the wrongly attributed quote section. Relfects on Mr Dash, reflects on this site. Agreement with the quotes themselves is not the issue...some journalistic integrity is. This needs to be changed IN the body of the article and noted as well as in a blurb at the start, as was the change in venue. Please sort it out.

Why do you consider that I was being flippant, Anon 22 july 10.09.00? the online dictionary says that it means marked by disrespectful levity or casualness, pert. however - I prefer the archaic - talkative, voluble.There is no reason why I shouldn't ask such a question - and you to respond as you wish - and, as this is Strelnikovs site - well, I guess he just does as he damn well pleases - I have had several postings denied - I haven't said anything - just took it on the chin - as I said - it is his prerogative, much I am saddened by Strelnikovs 'caprice' [although it is a lovely word, don't you think?]. I suppose it is just possible your answer was such that he felt it not fit for publication - I know he said 'caprice' but maybe something in your manner made him feel that say, you were a bit 'up yourself' - of course - I wouldn't know as the information has not been forthcoming. Strelnikov, enlighten us, please.

misspelling of name could indicate a lack of respect - and that is certainly forthcoming for both of these lowlifes, but yea, lets not have Dash being slapdash - if in fact he even exists and it isn't you, strelnikov - I disagree that it reflects on this site in some respects - that is like blaming New York for the Son of Sam - fuckin' stupid, and what is more - the kind of thing a racist or nationalist would do - condemn all for the actions of a few errants..

My apologies for the mistake made in attribution, and the mispelling of Nicholas. And for taking so long to get back. It only came to my attention yesterday. I should have done a better job of subbing myself. As Strenikov has pointed out it actually makes little difference to the point being made, but still it shouldn't have happened.Jack Dash(And no, I am not Strelnikov)

FAO Nobby - I suspect from your slight uppish manner that when push comes the shove, you are not very PC - or are you? some people don't know when to stay down on the canvas - I used to know someone like that - didn't want to show his true colours but he was PC despite it all. He could have lost so much - if he were around today - the same could still be true. Accounts should always be settled or they can cause smoldering resentment.

'FAO Nobby - I suspect from your slight uppish manner that when push comes the shove, you are not very PC - or are you? some people don't know when to stay down on the canvas - I used to know someone like that - didn't want to show his true colours but he was PC despite it all. He could have lost so much - if he were around today - the same could still be true. Accounts should always be settled or they can cause smoldering resentment.'

Sod, I have read and reread the above remarks and still cannot make head nor tail of them. Could you please tell me in more precise terms what exactly you are incinerating here? Thanks, Nobby.

As a friend of one of the people who run the Green Note, I'd like to correct the impression given in this article that they were promoting the event discreetly, in order not to draw any flak. In fact the venue had been hired as a private do, and the partners who run the Green Note had no idea of the views and sympathies of the performers. As soon as they were alerted to this they pulled the event, as they're absolutely opposed to everything these people represent. And so neither is it true that, as one of the comments implies, they knew what they were getting into and only pulled the gig after pressure from others.

Our assumption has been that the Green Note knew nothing of the politics of the group until they were alerted by people who read this, and similar blogs, and who complained to them (if they found out by some other means it would be interesting to know what it was). I have no reason to believe anything other than that the people at the Green Note pulled the gig as soon as they kheard about the politics of the group. I have contacted the Green Note asking if they want to make a statement, but they have so far declined.

Well, you know, Nobby, things change from day to day - one day you are 'up' [waves arms upwards] - and one day you are down [falls to the floor, reminiscent of a puppet having the hold on its strings relinquished] - and also - for this purpose, you have different names, and different agendas...the first - 23/07 - I had hoped for pity through politeness - when posts appeared bearing times after that posting went up my heart hardened somewhat - much as yours probably did when you got uppity about 'caprice'. Strelnikov really is a law unto himself. As for my meaning - well, lets just say - if the cap, or name fits - then one should wear it - even if you think it may not refer to you. Thanks by the way, for the compliment. yrs, Lug Lamfada

I just want to comment on Strelnikov's post about the Green Note and whether they knew the nature of Changes' politics. I certainly assumed that they were completely ignorant of the facts and had simply hired the venue to them. A quick look at the venue's website was enough to know that this was probably the case. The fact that the venue is regulary hired for gigs and that all the bands who play there are a million miles away from this particular fascist milieu suggested as much, as did the fact that that the publicity on the website was careful to disguise the nature of Changes political history, and I strongly suspect that publicity came directly from the promoter and not the venue. The event was removed from their website within a few short hours of the post going up, for which they should be commended. It would be nice to hear their point of view on the subject but that is a matter for them of course.Personally I'll be taking a close look at the promoter of this gig and what else they promote. Could be interesting.Jack Dash

Patricia - I like the cut of your jib - but I will point out to you that I DID call you smartypants - but now you have just got me thinking of your tongue, don't do that to me, please - trippingly or otherwise!

Read the entire interview on Stigmata. The interviewer seemed a bit dodgy, possibly; the interviewee came across as considered, balanced, and broadly conservative, but (like most people) with a range of views and opinions that it would be difficult (and reductive) to categorize with overtly political terms.

You've done your best to edit together the right bits of quotations in the right order to present the artist in the worst possible light, and yet I still fail to see how preventing his band from performing folk songs to a small audience of fans is a way to promote a liberal or "anti-fascist" message.

I'm sure I won't be the first person to say your actions and intentions are wholly compatible with fascist ideology.

Anon 3rd august 2013 - if you just take the stigmata interview as reason why Changes are right wing or fascist in inclination then you are the fool - i am sure that Jack Dash took more than that into consideration - it is you who is being reductionist - the past speaks - anyone is capable of trying to make themselves look better after a series of documented 'indiscretions' - and anyone who took the person who did that as honest would be a fool - past association and action, and current association speak volumes - these people are being promoted by an associate of The New Right - what more evidence is required? and yes, you are right in thinking you are not the first to accuse people who out 'fascists' as being fascist themselves - join the club, fascist sympathiser!

The Green Note was not a private event as it had been publicised and received a public reaction. Or should that reaction be silenced?

If the oxymoronic logic of antifascists being fascists is the best you can come up with then may I suggest you look up McCarthyism - and try harder.

"Victims of McCarthyism" on https://en.wikipedia.org/wiki/McCarthyism.The Minutemen continued this ideology. There isn't any freedom of speech, expression or opportunity in that anti-communist list. A folk singer is included, to drive the point home.

A statement has been made on behalf of the venue organisers at The Green Note: ""We at Green Note are committed to running our venue in a way consistent with our beliefs and world view. This article was recently brought to our attention, and while its accuracy has been disputed by the organisers, we at Green Note reserve the right to err on the side of caution in the name of our venue, the hard work of our staff, and our place in the community. While we had no prior knowledge of the history or politics of this band, if there is any truth to the extreme political views held by the members of Changes, these run in contrast to our beliefs and we felt unable to go ahead with this show." Rita / The Green Note, 2013-08-08

Andrew King appears to have had an attack of the vapours, as his presence as support act seems to have been removed from the posters. He does come across as a rather lily-livered fellow in any case, certainly regarding the split from Sol Invictus. He apparently informed the members of the band that he was removing them from his various social network circles to spare them being tarnished by association with him; naturally the version that he told his friends was rather more bravado laden. He played up his victimhood status around the split to a quite pathetic degree; hardly an honourable way to behave given that he lacked the courage to defend the ‘Wotan’ cover version when the whole furore blew up around the Slimelight gig in 2011, leaving the other members - who obviously trusted whatever explanation he gave them - to stick their heads above the parapet on his behalf. He seemed quite happy to chat away to them by himself at another festival shortly thereafter, only making a big show of not talking to them when the rest of his own band were around. Guess it’s not such a big surprise that he seems to be hiding this time around after all...

Anonymous 12 August 2013 08.42.00 - thank you for this insight into the relatively recent behaviour of Andrew King - you seem to have some inside information, and whilst I am understandably curious from whence it came - could you be one of these 'other members' who was lied to? there seems to be some big element of bitterness on your behalf here - which I do not think unreasonable in the slightest, seeing already how much deceit is within this particular grouping of musicians. King himself was indeed a voice missing from this whole debacle, especially seeing just how sabre-rattling he seemed to be in his previous Terrorizer interviews and elsewhere on the subjects surrounding the compilation 'Looking For Europe', and other matters. This whole scene seems to burn people who come across it by chance - I have noticed how other bands and individuals seem keen to distance themselves also from Sol Invictus also after both this and the more recent Spreu and Weisen debacle - although they are distancing themselves for a very different reason - Sol Invictus claiming that Spreu Und Weisen were homophobic - and the other side claiming censorship and the questioning the actions of Tony Wakeford in particular - calling him a 'Liar'. It is interesting to note that within Spreu Und Weisens links still contain one to While Angels Watch - which is the project of this particular promoter - Sowilo - who is in reality Michael Dev Victor - more commonly just known as 'Dev' [his new somewhat self-agrandising soubriquet meaning, from wiki - "Sowilo, or the Sun Rune, symbolizes energy, life and fertility. Warmth, positivity and drive flow from radiant Sowilo. Norse mythology describes the sun as a blazing disc which is pulled across sky in a chariot pulled by a great wolf. One day, it is said, the wolf will stop pulling the chariot and eat the sun on the day of "Ragnarok", the old Norse version of "judgement day".] Yet he still seems to remain on good terms with Tony Wakeford himself also, and with Troy Southgate, the leader of the New Right and member of many bands too - who is also in Spreu Und Weisens links - but perhaps you already know this - perhaps you are Dev, writing to bemoan how Andrew King has once again turned tail?

Danique – I think any members of Sol Invictus would have rather more pressing matters to contest on this forum than the behaviour of some ex-member! It was certainly interesting to observe what went on during the whole affair at some proximity, but I believe SI have made their stance fairly clear with the statements issued since then.

Anonymous14 Aug 2013 14:51:00 - Do you really? they had no qualms EITHER about talking to andrew king after he was supposedly 'exposed' for having hidden some things from them for a few years - ah, no - the story they put out was changed rather quickly wasn't it - he was leaving anyway - that was the story - and going off to tour with Michael Moynihan.... So 'clear' are SI on their stance that they have been involved in putting out compilation albums with other far-right bands on since - and even appearing at the same small festival with them and others of a similar stripe earlier this year - what IS that smell? is it your bullshit? STRYDWOLF http://www.alertmagazine.nl/?p=1197 http://4ibrecords.com/2013/02/16/tony-wakeford-sol-invictus-desiderii-marginis-arcana-osewoudt-die-weisse-rose-naevus-tho-so-aa-bohemien-hexperos-strydwolf-dry-greed-gianluca-becuzzi-dj-schweinchen-nick-dj-vicever/ oh and others - many - http://noredseas.bandcamp.com/

I am not alone in being sickened by the hypocrisy - not just of King, but of the Sol Invictus people too. They talked to him - of course they did - wasn't that at the festival where Rose Rovine e Amanti were ganged up on by Tony Wakeford and his people? an event that echoed the bands behaviour later when the Spreu und Weisen gig occurred? And yet, they have maintained friendship with Whilst Angels Watch - aka. Dev - who is only too happy to quote Evola when putting on the delightful Changes. Wakeford - or rather - Sol Invictus - which he is the leader of - made it clear that they were having nothing more to do with Cold Spring Distribution and yet Wakeford was only too happy to do a solo gig with Martin Bowes the following year, who works very hard for Cold Spring, besides running his own band, Attrition. And then there is the gig with Troy Southgate - Wakefords reason for splitting with Cold Spring - as a guest spectator - the man Wakeford has as a new scapegoat now he has stopped throwing pretend "Shock Horror! the mans a monster!" at David Myatt when Myatts right-hand man was conveniently absent from an interview conducted over the space of some three months at least in 2007. This was Richard Moult, aka. Christos Beest - the man who only quietly left Sol Invictus after penning a drooling eulogy to Myatt in 2010 - and then recording an album with Wakeford collaborator Susan Matthews. Do you not see a continual stream of lies and double-standards too?

Cleaner - it took about 10 seconds to find this: Q: 'You state on your website: "By no means Striider is a political band, be it left or right. No propaganda, no hate, no politics, no racism, just art". How do you feel among the more politically/ metapolitically outspoken artists in the scene? A: I don’t really like the fact that some people want to spread hate through music.' (http:// bellummusicae.blogspot.co.uk/2013_07_01_archive.html) I cannot find evidence of fascism regarding Strydwolf either - Tony (not Sol Invictus) played at the festival in the link, regarding which I can only assume you have done no research concerning the promoters; or perhaps you did, but it didn't fit in with your theories. Same regarding NRS.

Anon - Firstly, whoever you bought your watch from should go out of business - a little fellow "down the market, was it?" Secondly, why not just ask the person accused if they did it? are you really that stupid? I think you will find that once AntIfa make their presence known these little boys with their silly theories get the Andrew King Vapours - here is a bad translation of a reputable dutch antifascist website - Alert! and written by Tim Vlaarbeek, John Postma and Jeroen Bosch - and note - I figure you may already have seen this as I did not mention Striider in my piece - but i'll add the piece [again badly translated] on them after this - and by the way, Tony Wakeford, as we have been told by him on various occasions is Sol Invictus - unless he wants anyone to think otherwise - he is Sol Invictus unplugged and unbacked - his actions reflect on the band as much as its other members actions reflect on him - they still choose to be in each others company at other times, after all.

"Regarding Stryd Wolf:Stryd Wolf contributes to the song "Dressed in Black Uniforms of the Dutch Industrial / Martial band Das Brandopfer. The song is originally from Joy Division and is called "Walked in line and can be seen as criticism of totalitarian regimes. However, the U.S. extreme right band Blood Axis has been covered the song and adapted the text. Instead of "They walked in line" sings the band 'WE walked in line and thus makes it a personal song. The German extreme right Neofolk / Martial band Von Thronstahl the text slightly modified and they play the song titled "Dressed in Black Uniforms', where the black point to the SS uniforms. Now Das Brandopfer in cooperation with Wolf Stryd same number released and can be seen as a reference to the SS in black uniforms where they walk in formation.Stryd Wolf also uses speeches and references to the NSB in their music. The song 'The black soldiers "is a reference to the eponymous song NSB. In the song 'Folk and Fatherland "is heard from NSB leader Mussert a sample. This speech is from the 'Voice Hage' in Lunteren in 1940. In the song 'The Volunteer' Stryd Wolf also used passages from NSB propaganda.The band also used the black sun-symbolism on the CD "Concrete, Stahl, modern technology 'with the words' The symbol of the black sun, adopted by the Thule Society, contemporary German federal laws forbids it to be displayed. All symbols referring to the Nazi era are banned in Germany."Wir rufen deine Wolfe" is a poem by Friedrich Hielscher and Stryd Wolf used this poem in the same song on the CD "Aus alter Zeit '.. Hielscher was opponent of Adolf Hitler, but it belonged to the group of extreme right-wing ideologues of the conservative revolutionaries who criticized democracy during the Weimar Republic (the interwar period between WWI and WWII). Also Stryd Wolf has given an interview to the neo-Nazi magazine "The Stormer", issue 13, December 2012, in which he says that with his music, at least his first album 'Welt Storm' wants to give to the fight for a new ethics. Phrase

The question is whether you want to be with such bands you. Associated as organizers, staff and volunteers want to be a stage for such ideas and or Typically, and as we have a lot of experience, visitors come from such concerts in SS uniform or adorned with other Nazi paraphernalia show up and there are also several far-right figures present. It seems to us that your other visitors thus to confront. We like to hear your views on this."

Response to anonymous 16th august 11.00.00. pt. 2 - before the piece - didn't research who was behind "No Red Seas" [I'm sure that title gave Wakeford a private laugh] - it was the Seventh Harmonic women - who have been active in Sol Invictus and friends with Dev for a very long time - do I get the prize? I haven't the time now to list the other people in the list of bands who are also questionable - some are completely good, 'clean' acts who merely want to do their bit for what I concur is a very good cause - however, as with the attempted hijacking of the Woolwich Atrocity by the EDL - far-right generosity is a two-way thing - it isn't like anonymously sending money to a cause - it is a valuable badge to be subsequently worn both with sincerity and with insincerity - brownie points...here is the Striider piece - Tim Vlaarbeek, John Postma en Jeroen Bosch again - it will be separate - it is too long -

PART 2 Regarding Striider: [IN TWO PARTS]Both on the website of Striider as on the website of Little Devil is stated that "no political ideas Striider distributes or shares". But whether that is actually the case remains to be seen. In an interview with Striider in a neo-Nazi leaflet, The Stormer, issue 12 (August 2012), any band member Jornt Elzinga can be yet a different side. He refuses to believe, for example, which of course is his right, the Allies and the Germans were good bad, because according to him, the history written by the victors. Elzinga addition, you and that is a dubious piece, the Third Reich "a time slot in history where we have to learn and where to source of inspiration. The American way of life is coming to an end and we must form a new system. I find it very interesting how Germany resurrected from the ashes after WW1, would that ever happen? "For these ideas to give force once used to Jornt Elzinga bandied the symbol of the black sun, a symbol that especially fame by the infamous Schutzstaffel (SS) of the NSDAP. It is also called a twelve-legged swastika and is cemented into the floor of the SS slot Wevelsburg in Paderborn, Germany. Especially extreme right and neo-Nazi people use the symbol to indicate, for example the desire for an alternative world that turns against a multiracial Europe, expression while the other uses the sun as a figurehead to indicate. Lost homeland Still others see the black sun as fight against the democratic political system. Whatever the case, the fact that Striider the free album 'Free Krieg Noises' black sun used independently of a context, and also various images of the black sun passing in various video clips of Striider, indicates a (perhaps conscious) political orientation. In the band logo in 'The Stormer' interview the band used two Odalrunen, which also indicates an (extreme) right preference. The Odalrune is widely used by neo-Nazi groups like the Dutch People's Union (NVU) and example ever found in graffiti on Jewish cemeteries. TO FOLLOW -

STRIIDER PART 3 - On the front of 'Free Krieg Noises' can be seen. A drummer of the Hitler Youth Further calls Elzinga in the above interview in 'The Stormer', a magazine that incidentally named after the newspaper of the anti-Semite Julius Streicher (an important leadership figure of the Nazis), that music is a great tool to spread. Ideas and messages And a message has Striider, because the band would like to show the history of the German and collaborationist side of the Nazis and hear.In some songs, like 'Schützengraben' and 'Kamerad', the split album "Si vis pacem, para bellum" of Striider and Stryd Wolf, the other band live will occur when you used Striider samples from the movie 'Triumpf des Willens 'of the late Nazi propagandist Leni Riefenstahl. Triumph of the Will is a film about the Party Congress of the NSDAP in 1934 in Nürnberg. In the song 'Love Sea!', Which, moreover, the fascist salute of the National Socialist Movement (NSB), on the same album, you hear a report of an NSB meeting and there is a speech by NSB leader Anton Mussert to hear. The song ends with the phrase "For Folk and Fatherland, Hou Sea".In the song 'Our Duty ", on the album' Free Krieg Noises', Striider used another piece from a propaganda film of the NSB called a rally in Rolde. In the song 'Panzers of the SS' a former SS man holding a speech about his SS time. "Pflicht, Treue, Ehre, Vaterland, KAMERADSCHAFT" and "Ich will nicht complain, ich war zufrieden, bin ich gern SS-mann gewesen". The whole is supported by marching music. No translation needed seems.In the song 'feldgrauen Ehrenkleid' Striider used the SS-known song "SS Marschiert im feindes Land ', which is sung include" Wir Kampfen fur Deutschland, wir Kampfen fur Hitler', in addition, several songs in the cry of a crowd hear 'Sieg Heil' calls. The album "Krieg" is the song "Der Sieg wird unser sein", which is a direct reference to the SS.On the cover of the latest album 'Bunker Music' is to see one of the NSB hymnal an image 'So sings the NSB. The album itself rehearing. Various historical speeches from World War II Harsh is, however, that the album Striider dedicates to all Dutch victims of World War II.To put everything in a row: Striider passes through its own website and know that it does not spread or politics and adheres to that of Little Devil. In an interview in the neo-Nazi magazine The Stormer he indicated that he just wants to see and hear that music is an excellent way to spread a message. The German side of history Due to the lack of criticism of Striider everything seems more like Nazi propaganda, then a musical art project. Who, as Striider, uncritically samples used and set it down in a warlike atmosphere, without explanation, without comment and without a context, coming soon in extreme right channel. It is not surprising that magazines like The Stormer interested in such music as can be. Seen as propaganda If a skinhead band such samples and images used, Netherlands stands on its head, but does Striider a band like that, it seems there is no cloud in the sky.

Thanks for posting the translation, it's hard going but worth careful reading. I don't know how anyone can seriously deny 'evidence of fascism' with these appalling bands, but perhaps Anonymous was banking on nobody being able to read German.

Tony Wakeford, Naevus and Dry Greed aka Edel Braun also appeared at the Italian Villa Festival in April, WITH STRYDWOLF. If they're seriously trying to distance themselves from fascism, it really doesn't seem to be working, does it.

Well whatever. On the subject of Robert Taylor, I just told Karl Blake on Facebook that I dropped Taylor as a friend simply because his shit-talking and bigoted BS politics got too much for me. Frankly what this idiot presents in interviews is nothing compared to the crap he spews on FB -- I'd send some links but the messages he sent me are not publicly on his page, but I can tell you the last straw was his badmouthing one of his fellow 'pagans' for being gay as well as posting about KKK-oriented books(!)

I think I'm increasingly moving away from crap like Neofolk/Apocalypse Culture anyhow. As I said before, not of that shit had anything to do with me anyhow and I was wrong in thinking I did. How could I be so stupid in thinking I would be accepted in such a inclusive 'culture' anyways? I think I'm more like a Juggalo -- more at home with being an underdog and a misfit than this thinly disguised 'white-pride' crap!

"Robert Taylor is one half of the band Changes, who will be playing for their third time at Stella Natura. The Changes duo returned to the music scene in 1996 after decades of silence thanks to the encouragement and efforts of Taylor's friend Michael Moynihan, who went on to produce and release their next album (16). Robert Taylor describes himself as a “herald... one of the three founders of the [Asatru] movement” within North America, along with Steven McNallen. He describes Asatru as “a religion that is suited for Indo-Europeans because it contains and constitutes all the main features and spirit of how most of us feel inside” (17). Taylor was a founder of the Asatru Alliance along with former American Nazi party member Michael (Valgard) Murray and has a long history of allying with Stephen McNallen in pagan organizing (16). Taylor has a long history of involvement within the radical right and white separatist circles. In an interview with infamous 'national anarchist' and white supremacist political organizer Troy Southgate (39),Taylor outlines his youth involvement in “the most feared white street gang in Chicago at that time” and states that he joined as a “vehicle for fighting” because he “loved the exhilaration of combat”, and that he “never joined gangs so much for the camaraderie or as a group security thing” (16). He states that this environment “certainly brought grassroots social problems into sharp focus” and that “racial tensions flared up frequently”. He describes his participation in a white riot in which thousands of white people mobbed up against a black family that had just moved into the neighborhood he lived in. This mob chanted curses, bombarded the black family's home with bricks, tried to break down the door and then proceeded to fight with the police upon their arrival. He described the experience of being in this mob as “like a minuet movement. A dance of rage”. Taylor recounts that these riots went on for four nights, during which “dummies stuffed with rags and painted with black faces were hung from lamp posts and set ablaze in effigy” and city buses with black drivers were attacked with large chunks of concrete dropped from bridges. He claims that he's sure of the fact that the media did not report on the riots because it would have attracted “people from far and wide to join the mob and riot”. He also outlines a group he organized with other white youth that committed such disgusting acts as responding to black students being brought into a school in his neighborhood by holding a confrontational demonstration at the school which these students were being transferred from, in a black community.

"Taylor speaks at length of his involvement with a 1960s right wing paramilitary organization named 'the Minutemen', in which he quickly moved through the ranks from being the principal organizer in the Chicago area to holding the position of national Director of Intelligence, and then becoming national spokesperson while also being the sole editor of their magazine. He describes the activities of the Minutemen as mainly consisting of: infiltrating leftist and communist groups in order to bring police violence against them or sabotaging their activities in other ways, identifying their members, and forming fake anti-war groups to give leftists a bad name in the press. He was a member of a special subgroup that was set up within the organization called the Defence Survival Force, which consisted of about 50-60 people trained in survival skills, killing, expropriation, explosives knowledge and special operational skills. They operated underground and rendezvoused in an organized way to meet in safe-houses and make claymore mines and pipe grenades. He outlines how this group slowly fell apart due to legal matters and how once their resources had dwindled enough and some members were facing incarceration, he used his position as national spokesperson to advise Minutemen groups across the US to organize as local militias rather than as a federation. In Taylor's own words, “The legacy of the Minutemen continues on now in various factions of the revolutionary right. We laid the groundwork, provided the basic concepts and more or less pioneered that movement. It brought a new sophistication of tactics and strategy to the Right” (18).

In 2006, Taylor defends his participation in the race riots by saying that for white working class people, “their job... their home, car and family was about all they had in the world” and that once black families began to move into neighborhoods dominated by white people, these were all threatened (17). He went on to claim that “[i]t was no secret that once blacks predominated in an area, the crime rate would soar and the streets would become dangerous to walk. (17)” Taylor espouses strong feelings about disseminating this viewpoint based on the perception that “white working class ethnics seldom have a spokesman or anyone who writes or speaks on their behalf. They are simply the dispossessed majority”. It is also very interesting to note that in this later interview, Taylor attempts to justify his participation in this riot, yet offers up no toned-down explanation of his prolonged and active organizing within the Minutemen. Taylor has gone on record stating that he sees the infamous and long-running white supremacist organization Aryan Nations and similar groups as representing “love and loyalty to one's race as opposed to geographical boundaries” (17)."

Speaking of what I was talking about earlier, I've just now discovered on One People's Project, in a report on the Dropkick Murphys, that apparently that Paul Burnley from pathetic hatecore band No Remorse is no longer a part of what bonehead jerkoffs call the movement. I assume this was similar to what the guy behind Warcom records did- just realised it's all a load of biased crap and just an excuse for senseless violence (maybe?) I dunno if Burnley really changed (I haven't asked him myself, as I don't know him personally anyhow), but that should tell you about the BS that is essentially behind such a flawed concept as "White Pride", which Robert Taylor still is supportive of.

I dug deeper and found this BS from a WP internet page: "The people in the legitimate Blood & Honour Movement are not in it for the social status or approval from others . They are in it for a political and racial cause. To say that Paul turned into a traitorous wanker because of how he was treated is the same ideology that ZOG and the Reds use to explain the actions of non-white crime. "It's not their fault, it's their environment". Bollocks to that.

We have seen the same ZOG tactic in the Jewish made movie American History X. Where Derek Vinyard is mistreated by an Aryan prison gang, so because of that treatment, Derek said the Movement is a lie. No wonder it is so befitting for the wankers at bh.org to adopt this type of reasoning.

The Movement is not about your social status, how you are personally treated by others, what dislikes you may have with others, etc. The Movement is NOT about YOU it is about RACE. But apparently according to the tossers at bh.org, Paul turned into an anti-Nazi because he was mistreated by C18. "

They are wrong. The problem is their delusion of 'preserving their race' is so stringent and stubborn they alienate even those in their group. I can say MY treatment at the hands of such people turned me off, but it's not because those people are correct in their thinking. I'd say boneheads are not part of their environment as much as it IS they're own fault because of how they are. THEY ARE the negative environment. Who can blame Burnley for wanting out of sometime so senseless or just plain depraved? It's not his fault (at least for that...)

Nice try Pete. Your comment is for cheerleaders who want to hear what you have to say because they like to hear this repetitive nonsense as it's little more than rhetoric bordering on chinese whispers with no evidence to back it up, unlike this article, which is full of references to interviews (from the horse's mouth not good enough for you?) as well as so many other examples, not fiction or hearsay. I am one of the anons above and no I am not the author. The irony/satire argument is wearing thin and has become part of the elitist argument that people who can't see past it are ignorant. Bullshit. Many may not be aware or are even in denial whilst they enjoy the aesthetic of this scene, but don't kid yourself about it's deeper nature, as illustrated above in the article. Why don't you try actually reading it? It's good to start somewhere.

To Lloyd of Naevus (22nd August): There's no presumption, and denial would therefore be futile. It's a matter of public record that you appeared on the same stage as fascist act Strydwolf. That you think this is acceptable, or in any way a 'good career move', merely points to your complete moral abnegation. Good luck with the dark, dank and foetid world of discredited ideology and furtive scrabbling at the margins to which you've consigned yourself. Just how many paying punters can you squeeze into Casa Pound, by the way?

To Anonymous (23rd August) - I've seen nothing that demonstrated that Strydwolf are a fascist band. And besides, people can appear on the same stage whilst possessing different ideologies from each other. It's a bit like real life, actually.

"To Anonymous (23rd August) - I've seen nothing that demonstrated that Strydwolf are a fascist band. And besides, people can appear on the same stage whilst possessing different ideologies from each other. It's a bit like real life, actually." You really are stupid, aren't you? did you read this thread fully? did you read C.O.T.A.S. above translation of the Dutch article by the Antifascist Alert! team? If you have then are nothing but a nazi apologist, it seems to me.

There's an interesting exchange on Striider's Facebook page, which illustrates part of the problem here. The artist posts: "The past few days have been very tough and hard. I feel like I've let all of you down, but please understand I am no nazi, I do not support genocide of Jews nor do I support the destruction of countries, peoples and systems. I am no fascist, I am very open minded. Striider was born out of fun, the interest for music and history. I wanted to show the people the pain of soldiers. But, since I was told there would be big problems with the concert I began to frighten, this was not what I had in mind! Now the Antifa is writing about me, that was not the goal of Striider. Before things go out of control I made the decision of quitting with Striider. I don't want any problems and mean no harm".

The fanboy comments which follow are entirely predictable, and along the lines of "Fuck Anti-Fa". Apart from one, that is: Jean-François Hicter contributes the following – "What is the problem to be a nazi?! This is only a problem for mainstream jewish motherfuckers! They hold the world and want to destroy our tradition! And we must say "thank you guys"?! Fuck the jews! Hitler was to kind with them! They are shit of the devil! Nazismis not perfect but we have to not be ashamed to be nazis! Hitler said no to jewish banksters. Result : WWII. The jewish elite is the plague of the world. Be nazi. Be proud. No mercy for the devil."

Striider's astonishing response – bearing in mind that he allowed the comment to be posted in the first place? "Thanks for your support and kind words, I'll make it up to you in the future!"

Alert! Magazine has published a new article on Strydwolf recently. Apparently, the author is not so sure anymore about his earlier negative judgment:

‘ TELL ME WHERE YOU STAND’ – STRYDWOLF

by John Postma

Sweet guitar melodies erupt from the speakers and guide the lines ‘Tell me where you stand, tell me what road you travel’. The song ‘Sag mir wo du stehst’, originally performed by Hartmut König & Oktoberklub, has been covered by the Dutch Neofolk group Strydwolf on a bonus disc. In early February, Strydwolf was scheduled to do a gig at the Little Devil café in Tilburg, but due to some commotion (Alert! 1, 2013) the band eventually was forced to retreat. Some worried people ask themselves, on who’s side Strydwolf actually are.

The group is not unambiguous. In the above mentioned song, the band toys with elements from the former socialist East. ‘Sag mir wo do stehst’ was written by Hartmut König, a former official of the Sozialistische Einheitspartei (SED) and the Freie Deutsche Jugend (FDJ), a socialist youth organization in the former German Democratic Republic. The hymn was an important propaganda song of the ‘Singebewegung’, a political and musical movement that became a campaign to bring young people to write songs and sing together.

On the record ‘Aus alter Zeit’, released by Strydwolf in 2012 by the German music label Skullline, another song, ‘Handen in elkaar’ hints at socialism, for the lyrics are basically the same as that of the ‘A.B.V.V.-mars’ [a Flemisch workers’ union song]. And some verses of ‘The Internationale’ are to be found in the song ‘Ontwaakt’ on the bonus-cd mentioned above.

Anticommunism

In 2009 the Hungarian label Alternative and Industrial Musicians Society releases the compilation album ‘Blood of The Lost Heroes (1956)’. The album is entirely dedicated to the uprising of the Hungarian people against the Russians. ‘In the cold month of October 1956, now 53 years ago, the Hungarian people resisted with all its strength against the communist dictatorship. They expelled the Reds and held out for at least 20 days, until the Russian tanks attacked again in November and took over power. After 50 years we still commemorate our heroes, who’s remembrance has been blemished by the Hungarian democratic government. They make deals again with the communists instead of punishing them. The memory of the blood of our fallen heroes must never fade. Hoist our banner!’ Strydwolf takes part in this anticommunist project with the song ‘Tod in Ähren’, a war poem from 1877 that was written by Detlev von Liliencron. The lyrics are about the death struggle of a wounded soldier who’s hiding in a rye field.

Fatherland

Soldiers, war and battle are some of the recurring elements of Stydwolf’s aesthetics. In 2009 the French label La Caverne du Dragon releases a three piece compilation album, called ‘Tribute to the Dead Soldiers (1914-1918)’. Strydwolf contributed two songs to the second and the third release. This compilation album does not take side with any of the combating parties and seems to be just about honoring soldiers who fell for their respective fatherlands. This same theme can be found in the war poem ‘August 1914’ by the English poet Isaac Rosenberg, that appears under its original name on the Strydwolf albums ‘Ljocht’ and ‘Heitelan’.

The [Dutch] fatherland as well plays its role in the presentation by this Dutch Neofolk band. The ‘Mobilisatielied’, for example, starts with a 1939 news reel about the mobilization of the Dutch armed forces. Its lyrics deal with battling the enemy and defending the Netherlands, and ends with the phrase ‘Long live the fatherland’.

On Strydwolf’s split-album with American band Shattered Hand, the band plays the song ‘Mein Vaterland’, named after the poem by August Heinrich Hoffmann von Fallerleben, writer of the ‘Das Lied der Deutschen’, the German national anthem. This very same song appears on the split record by Strydwolf and Striider, although its name has been changed to ‘Alles voor het Vaderland’.

Strydwolf pushes it a little further in the song ‘Voor volk en vaderland’, which was also a slogan of the Dutch National-Socialist Movement (NSB). The song is instrumental and originally appears on the album ‘Ljocht’, released by Strydwolf own label Heitelan Records. ‘Heitelan’ is Frisian for fatherland [actually, it means ‘homeland’, like the German ‘Heimat’]. ‘Voor volk en vaderland’ can also be heard on the album ‘Heitelan’, but this time a speech by NSB leader Anton Mussert has been added. In the song ‘The martyrdom of man’, to be found on the album ‘Beton, Stahl, modernste Technik’, the NSB leader speeches about the new era that lies ahead. ‘Hou Zee, mijne kameraden… Hou Zee… Hou Zee’ [this was the official party salute]. The speech by the way was recorded just after the German invasion.

On this same album the song ‘Europavolk’ can be found, once again beginning with a audio sample from an NSB propaganda film, documenting a visit to the NSB circle in the town of Winterswijk. At the end of the original track, the newsreader says: ‘… we only know one duty, and that is to serve the party and stay loyal’. Strydwolf has used an edited version and deliberately deleted the clause ‘to serve the party’.

The question arises: why does Strydwolf use NSB material? ‘When I first started Strydwolf I made Martial Industrial music and I once used this sample because it fitted well with it. I never released it though. Naturally I do not approve to what is being expressed in this audio fragment. I used it as a way to express personal feelings of discomfort,’ says Willem Witte of Stydwolf.

March

By the before mentioned adjustment in the song ‘Europavolk’ Strydwolf appears to distance himself from the National-Socialist Movement. In contrast to this, the ties with National Socialism are being expressed in the song ‘Dressed in Black Uniforms’, that Strydwolf has performed together with the Dutch Industrial group Das Brandopfer. The song was originally called ‘The Walked in Line’ and performed by the British band Joy Division. By means of reflective phrasing and a critical approach, these Englishmen sing about the dangers of a totalitarian mass movement. Joy Division’ lead singer Ian Curtis repeats the line ‘They walked in line’ over and over again.

This same song has been covered by American band Blood Axis, but in their version reflection has been replaced by identification by changing the refrain into ‘We walked in line’. Supported by the sound of boots rumbling and a sample of Hitler speeching, the song is reshaped into a typical fascist anthem. In 2007 German extreme right wing band Von Thronstahl released the same song with a new interpretation of its title: ‘Dressed in Black Uniforms’. By this the band refers to the black shirts of the SS. Strydwolf has covered the song once again, but in a stripped down appearance and without speeches or martial drums. Witte of Strywolf says: ‘This song was recorded in cooperation with Das Brandopfer, who asked me to do vocals. I kind of liked it. I think its contents are open to all kinds of interpretations.’

Black Sun

‘Schwarze Sonne, schwarze Sonne…’. We hear Strydwolf’s Willem Witte sing this lines with a dreamy voice in the song of the same name on the album ‘Infernal Pacts’ by Das Brandopfer. The song could already be found on the record ‘Heitelan’ by Strydwolf, but was then called ‘Nun die Sonne’, lacking the context of the black sun. The lyrics originate from the poem ‘Sonnenwende’ by German literate Johann Ludwig Uhland. Strydwolf has transformed the words into ‘Schwarze Sonne’ for a change, adding to them a political connotation.

In a written comment, Strydwolf declares that they do not identify with the black sun. ‘The piece is meant for insiders, who know of the first version and recognize the parody. It’s not really meant for the masses. The song was never releases by the way, but has only appeared on YouTube.’

The black sun is also called the twelve pointed swastika, and was layed in the stone floor of the former SS centre Wewelsburg. But this is not the only reference Strydwolf makes. On the before mentioned album ‘Beton, Stahl, modernste Technik’ the band uses a logo that according to writers Peter Moon and Joseph Farrel can be interpreted as a black sun symbol like the one the Thule-society once used. This assertion has attracted much criticism, because the official logo of the society showed a sword hanging above a swastika. But whether or not the assertion is true, Strydwolf is using this symbol to express something.

Witte: ‘A picture of the original black sun appeared on one of my demo’s, because at the time I thought it matched with what was happening in the United States. To understand this reference you should listen to the whole album, though.’

Hielscher

Together with the German band Argheid, Strydwolf plays the song ‘Wir rufen deine Wölfe’, based on the poem of the same name by Friedriech Hielscher. This German philosopher was part of the conservative revolutionary movement that during the Interbellum between the two world wars rallied mostly against the democratic republic of Weimar. In 1919 he took part in [one of] the Freikorps, a military unit that fought Polish troops. In the 1920s Hielscher became an advocate of the new nationalist thought, publishing in national-revolutionary magazines from 1926 onward. Out of religious convictions he turned against Hitler, because Hielscher rejected the racial-biological doctrine of the German Nazi party.

Art?

Strydwolf, tell me where you stand! Responding to Little Devil about the cancelling of the before mentioned gig, Strydwolf stated that there is a huge difference between referring to certain things out of historical consciousness or interest, and actually subscribing to certain ideas. Answering to Alert!’s questions, Willem Witte let us know that he was disappointed that he wasn’t able to play in Tilburg, although he wouldn’t have felt comfortable if neo-Nazi’s or other scum would have come to the gig either.

Just like it is stated in the box [below], Strydwolf claims he’s not into politics and appeals to the principle of artistic freedom. Art? Maybe it would be appropriate to make a comparison to Leni Riefenstahl. Her works of art developed during the Second World War and images from that films fitted perfectly into the ideology of the Nazi era. Artistic as they doubtlessly were, her creations proved to be instrumental to cultural warfare. This example proves that value-free art is a misconception. Who, like Strydwolf, makes use of certain symbols, quotes and phrases that originate from controversial characters to express himself, can just expect that people will draw conclusions. And such conclusions won’t always be nice to hear.

BOX: STRYDWOLF’S DICLAIMER

We are no nationalists.We are no socialists.Therefore, we are no Nazi’s.We are no fascists.We are musicians and artists.We reject any labeling.We are influenced by Irish folk songs, surreal poetry, psychedelic, classical and heavy metal music, and lots of other sources of culture. We are part of public life and open to intelligent conversation with anybody. We are open-minded people, who choose to live in a world of mystery, beauty and wonders. We try to express complex emotions through our art and music. We are musicians and artists. We are no politicians. We speak the language of art and music.

I think you will find that that is not a full endorsement of Strydwolf by Postma - the author shows clearly why he co-wrote the original piece - and states at the end "Just like it is stated in the box [below], Strydwolf claims he’s not into politics and appeals to the principle of artistic freedom. Art? Maybe it would be appropriate to make a comparison to Leni Riefenstahl. Her works of art developed during the Second World War and images from that films fitted perfectly into the ideology of the Nazi era. Artistic as they doubtlessly were, her creations proved to be instrumental to cultural warfare. This example proves that value-free art is a misconception. Who, like Strydwolf, makes use of certain symbols, quotes and phrases that originate from controversial characters to express himself, can just expect that people will draw conclusions. And such conclusions won’t always be nice to hear."He states that the artist CLAIMS etc. - then he points out - irrespective of what the artist says, that this man is serving the cause in the same way as the leading cinematic propagandist of the nazi regime in the second world war! so it is you, poster - who needs to read properly the above article. Strydwolf are kids playing on the train tracks - if he and other 'kids' like him don't get off those tracks he is courting danger - simple as that.

"Anonymous25 Sep 2013 19:42:00Alert! Magazine has published a new article on Strydwolf recently. Apparently, the author is not so sure anymore about his earlier negative judgment" - I just read the article - you are either a lying, stupid piece of fascist apologist scum or you are stupid - is it either, or both? well, don't treat US as stupid.

I won't use the same abusive tone as you do, lenny. In fact, as a democrat I believe in civilized debate, not invectives. I just found this article by Postma much more nuanced than his earlier statements. He points out that Strydwolf uses all kinds of historical sources: communist, anti-Nazis conservative, socialist, and yes, also nazist. Obviously Postma still thinks that this is highly problematic. What he actually tells Strydwolf is this: you may not be a Nazi, but your music may serve others who are, if you like it or not. This is a serious differentiation.

Well, Anonymous, 27th sep 2013 09:45:00 - had you written that reply as an intro rather than this -[ i repeat-copy] - "Alert! Magazine has published a new article on Strydwolf recently. Apparently, the author is not so sure anymore about his earlier negative judgment:" which, although gramatically correct - implies or seems to imply that it is the "negative" aspect that he has thought better of - whereas in fact - he is still negative, still dubious about the artists intentions but says IF what he says here is the case then yes, to put it in my abusive terms - strydwolf is a "different sort of idiot" that serves the same master albeit in a different and unintended way. Only time will tell. Well done in this case then - sorry IF I got you wrong but it is a bit like Strydwolf - your quote taken out of context [ie. without reading the article] could give Strydwolf a cleaner bill of health than he deserves - he has, after all, been at best very, very stupid.

Hey, just so people know I clicked on this thinking it was a link with information related to Ma Kali Ma. I regret that someone might have used her image for selfish purposes, but as her devotee I resent the fact that her image (a traditional Bengali Kalighat print) might be intentionally associated with something so deplorable. Millions of other Hindus would agree.